Category: KPOP

[Review] JUSTICE – Dreamcatcher

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Making their comeback just yesterday was Dreamcatcher, with their 10th mini-album titled Virtuous and the lead single JUSTICE. This new release follows on from their 9th mini-album VillainS and the single OOTD, which was released back in November last year.

My final comments in the song section of my OOTD review was that it lacked the spark that makes it feel like a Dreamcatcher song. The first thing that came to my mind when I listened to JUSTICE yesterday was that they regained that missing spark. When you compare the two songs side by side, the main difference (for me, at least) is a powerful force. And JUSTICE is indeed a powerful track. Like all Dreamcatcher title tracks, JUSTICE definitely finds its roots in the rock genre. But the producers do a little more to the edges of the song to make it feel unique, and not a have JUSTICE repeat or rehash the rock genre again and again. The dramatic and sinister percussion that features as the main backing of the verses felt very theatric. There was also a touch of electronic influence in the chorus, as a result of the autotune that made the high notes of the song choppy. The pre-chorus of JUSTICE also brought forth a ‘We Will Rock You‘ type of vibe. All of these were really cool elements in JUSTICE and helps exude that powerful nature I mentioned the song having. Alongside all of that, the successive high notes that make up the chorus also aligns and allows the members (yes, they were pulled off by multiple members, not just one!) to contribute towards that same powerful force that makes JUSTICE empowering. Given the song’s use of high notes in the choruses, I did wonder how the the producers would top them as part of the final chorus, as just maintaining the same chorus without much change have been an injustice (ha!) to the song. But the ad-libs high note on top of the usual high notes in the final chorus worked like a charm and definitely helped sign off the song in a satisfying manner. Overall, I really liked JUSTICE and the return to form it brought along with it.

JUSTICE (the song) conveys the message that all people are heroes, if they fight for their beliefs and idea of justice (taken from SOOMPI). And while the music video doesn’t have much of an explicit plotline, the video does portray the members being limited in the beginning, breaking free and fighting for themselves (and others). We see SIYEON throw away the dark crown, which was shown at the start alongside the words “For the souls swallowed by the abyss of malevolence“, which makes it represent the idea that some people’s souls become corrupt and this cause them to become ‘evil’ people. I did think the video was a little light on the individual shots, which could have portrayed a bit more of that implicit storyline. Also thought the choreography scenes were a little bare, as they were mainly in that big art gallery-like room.

Days before the comeback, it was announced that SIYEON would be sitting out of promotions due to health reasons. That does leaving a gaping hole for the promotions, given SIYEON’s position as main vocalist. However, SUA and HANDONG step to take over SIYEON’s high note without any problems. Good on them! As for the dance, I thought it looked good. Nothing really stood out to me, but it definitely showcased some artistic flair and a powerful side to the group.

Song – 9/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 8.5/10

[Review] Heaven – TAEYEON (SNSD)

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TAEYEON made her comeback on Monday with her latest single Heaven. This latest release follows on from her November 2023 comeback with the single To. X and the mini-album of the same name.

Heaven is a groovy dance pop track, with the synth work giving off a disco pop groove. The upbeat nature, which comes as part of the disco pop groove, gives Heaven a brightness that feels positive (despite the sinister and creepy visuals of the music video – more on that in the next section of the review). This brightness goes well with the lyrics, which speaks to the feeling of heaven when desires and wants are fulfilled. I also liked the lightness of the arrangement, which makes Heaven an easy-on-the-ears listen. And Heaven glides along with TAEYEON’s effortless and smooth vocals and melodies. Overall, I enjoyed the song. But I think there are ways to make the track stronger. Making it longer could do some wonders to the song. Heaven is over before you realize, spanning just over 2:30 minutes long. It doesn’t help that a light arrangement and smoothness comes with some disadvantages, such as potentially making a song forgettable. You ought to really pay attention to the song to register that it is Heaven. And a short length doesn’t really help with that. I do think Heaven could also benefit from something to anchor us with, such as stronger melodies, given the light/smooth/short approach. The way TAEYEON starts off Heaven‘s chorus was amazing, but I don’t get that same energy through the rest of the chorus.

Despite the song itself showcasing a positive message of what heaven feels like, the music video goes in a different and much darker direction. The contrast is interesting, but worth exploring. In the video, we see TAEYEON prepare food for her lover, so they can experience the same feeling of heaven that she has experienced. The dish in question does involve a few interesting ingredients (she is holding an apple that skin is made from hair, and she chases down a bear) and preparation methods (such as chopping ingredients with an axe). She cooks up a storm, present the dish to her partner, who she watches over whilst they eat her creation. In the end, the partner does experience the same heaven she experiences, but for some reason neither have that same euphoria that she experienced earlier in the video. It does make me wonder if TAEYEON’s character is some sort of serial killer, who gets a high off killing (i.e. the feeling of heaven). And the victim is the lover, who is unable to provide the same high anymore after they are dead, so she moves onto the next person. This theory might explain the final scenes of the music video.

Song – 8/10
Music Video – 9/10
Overall Rating – 8.4/10

[Review] Klaxon – (G)I-DLE

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(G)I-DLE started the year strong with their 2nd studio album, 2, lead by the pre-release single Wife, title track Super Lady and the unexpecting hit single Fate. The group has now returned with a new mini-album titled I Sway, which is lead by the single Klaxon. Following promotions for Klaxon, the group will embark on their third world tour, as announced back in May.

I am a bit torn as to whether I like Klaxon. It has potential to be a hit and there are some likeable elements in the song, but it doesn’t surpass the likes of DUMDi DUMDi (a (G)I-DLE summer time hit from 2020). The track itself had brightness and energy. But it felt held back and Klaxon didn’t fully embrace these summer time essentials. On the other hand, Klaxon also features brass elements and upbeatness, and these definitely helped sell Klaxon as a summer time song. But beyond that, the backing of Klaxon does still feel rather basic and not as bold as (G)I-DLE’s more recent tracks. Had Klaxon embraced some boldness (perhaps accented the background a bit better) and maintained the current summery vibes, the song would have a lot more bite to it and it could have rivaled the other Summer time hit (G)I-DLE already have under their belt. As for their vocals and rapping, I thought they were good. Again, basic melodies. But the members delivered those well. An awkward aspect of Klaxon are the hooks. The song’s two main hooks were rather lackluster and not as enticing as in the past. These dry out the song, though I have to admit the randomness of the “Hon hon hon hon hon honk” hook does keep things a bit interesting. Without any context (like how Klaxon is another word for horn), it feels like an odd choice. I just wished it was delivered with a little more emotion. The other hook in the song, the “Oo, Oo, Wa-Oo“, was indeed much better in terms of effect and delivery, but also lacked innovation and felt typical. Overall, another song that has resulted in mixed feelings.

As for the music video, the members fully embraced the summer heat and made it into a sexy summery music video. I liked that, especially the fact the members did not shy away from donning the outfits throughout the video. SHUSHUA definitely stole my attention with her looks throughout the video, with MINNIE’s curls being a close second. However, I am not keen on whatever the hair situation YUQI had on the beach. Elsewhere in the video, it appears the members are chasing someone. But it only becomes apparent towards the end of the video during the desert scenes. The connection here with the song is that the members have fallen for this mystery person and are driving after them to get their attention (presumably by honking the horn of the car they are in).

The choreography for this comeback looks relatively simple. And I quite liked that. It works well with the basic profile of the song, and sometimes simplicity is indeed better. I liked the various key moves that accompany the hooks of the song (not matter how basic and typical they sounded), as well as the cascading bit in the bridge of Klaxon led by Minnie.

Song – 7/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 7.5/10

[Album Review] Killin’ It (1st Studio Album) – P1Harmony

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Believe it or not, but P1Harmony only released their first studio album in February of this year*. For some reason, I have it in my mind that they have already reached this feat ages ago. Titled Killin’ It, the album is lead by the single of the same name. In addition to the title track, the album also features 9 tracks on it (some of which I am dubbing as hidden gems). Continue reading to find out which of the 10 songs on the album have been rated 10/10.

Overall, this studio album garners a very positive review from me. P1Harmony is not one that springs to mind when I think a KPOP artist who has the strong albums or even repertoire of side tracks. But I am impressed with P1Harmony’s fairly consistent output over the last year on the mini-album front and Killin’ It proves that once again. I do recommend you check out this album (per the recommended sticker at the bottom of the page) and hopefully you finding something cool and engaging that only P1Harmony can put out!

*While I have moved onto February 2024 albums, I will be swinging back to a couple more January 2024 albums on this blog in the near future.

Killin’ It Album Cover

1. Killin’ It (때깔) (Title Track) – Click here for the full review for Killin’ It. (8/10)

2. Late Night Calls – Following the title track is a R&B based track, which features a more mellowed mix of acoustic guitar and electronic percussion in its instrumentation. I liked the melodic and vocal focus of Late Night Calls, which is a different motif than what P1Harmony puts out usually. KEEHO’s vocals were distinct and showcased well in the song. While the way Late Night Calls comes together makes for a pleasant listen, a stronger hook would have made Late Night Calls better, but what we got was pretty good in itself. (8/10)

3. Everybody Clap – Despite not being as heavy handed as their title track, Everybody Clap returns the album to what P1Harmony is most known for – hip-hop dance tracks. That being said, Everybody Clap is quite a lively and well-balanced hype track. I quite enjoyed Everybody Clap’s chorus, particularly how it delivers the eventuating hip-hop and hype energy. From the electric guitar that accompanies the song’s catchy and playful descending melody, to the clean vocals and energetic rapping from the group. I found a lot to like in Everybody Clap. (9/10)

4. Love Story (꿍꿍이) – Love Story is the closest we get to a ballad on this album. It falls into the pop realm, but also exudes a soft profile that is synonymous to ballads and incorporates an acoustic touch. This was a good direction for P1Harmony, fitting in better with their sound profile than compared to the more usual slower and classical route. Their vocals also sound very nice in the track. I liked how they elongated the ‘Love Story’ references in the choruses, which helps makes it dreamier and more delicate. The sing-song rapping was also perfect for this motif, and is an excellent way for the rappers to twist themselves to fit into Love Story. (8/10)   

5. Countdown to Love – The hip-hop returned in Countdown to Love. But this time around, the track features an impressive backdrop of electronic guitars and drums that gets the adrenaline rushing. It isn’t necessary a rock track, but it is similar to that realm. Countdown to Love does diverge into hip-hop through some trap synths and characteristic rapping from the group. Despite the changes in the background, I liked how the song maintains a consistent energy. This made the song exciting and thrilling to listen to. I do think a more memorable hook would have sealed the deal on the song, however. (9/10)

6. Emergency – Emergency pushes things further than the previous song, thanks to its more dynamic flair. The instrumental maintains the rock-like sound and hip-hop affair from the previous and title track, but also features a much punchier synth work. I like the small 90s detailing in the background, as well. The vocals and rapping definitely has this excitement to them, which makes Emergency prolific and carries us through the song’s intensity. I am always excited to listen to Emergency, as I know it will be a blast each time. And I have listened to it so much that it has become one of my favourite side tracks from P1Harmony. (10/10)

7. 2Nite – Another side track that attracted my attention is 2Nite. This one brings some funk and groovy energy into the album. No matter how many times I listen to 2Nite, the funky and groovy direction makes P1Harmony sound classier and upgraded. Nothing against the hip-hop dance style P1Harmony is known for (as that can be exciting on occasion), but it isn’t my personal style. The bridge was probably strong evidence of this additional class, as I found that part to be oozing with style. Again, the vocals were well polished and clean, while the rapping adds intensity. I also find the “Oh No!” at the start of the chorus to be super punchy and catchy. (9/10)

8. Let Me Love You – Let Me Love You maintains the funk and groove in this electronic track. The instrumental already captures my attention, but there are a few additional elements that makes Let Me Love You stand out to me. The first has to be the choruses’ crunchy harmonisation with the backing vocals. The second is JIUNG and KEEHO’s singular hoarse line in the pre-chorus (that really took my breath away). And the third is SOUL’s smooth and flowy line in the bridge. These three elements alone was able to bump Let Me Love You to a perfect rating. (10/10)

9. Street Star – Hip-hop comes back into play in Street Star. It is the first song on the album where I didn’t feel the instrumentation. I felt there was a lot going on in it and this made it distracting for me. I did like the attitude and angst the members infused into the song via their respective deliveries, particularly the rap line of P1Harmony. I also enjoyed the fast and forward trajectory of the song. Just wished the instrumental was more palatable for me. (7/10)

10. I See U – Wrapping up this 10-track studio album is I See U, a hip-hop track that is dedicated to the fans. I like the happier and upbeat motif this number has. The way the members delivery the “You” in the chorus was actually quite earwormy and catchy. I also enjoyed the pace delivery of the rapping, which matches up with the slower beat of the song and also eases us off the album quite nicely. (8/10)

Overall Album Rating – 8.6/10

Killin’ It Teaser Image

[Review] Sticky – KISS OF LIFE

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Another group who made their comeback earlier in the week was KISS OF LIFE, who returns with their second single album Sticky. The title track also shares the same name. This summer comeback follows on from their Midas Touch comeback earlier in the year.

While KISS OF LIFE have stuck to more powerful pieces in the past, Sticky offers something a little different. Sticky is still a summer track, but it is more flowy, melodic and lowkey than other summer-time tracks that we have heard in the past. And it is this distinction that makes Sticky stand out and feel extremely charming to me. I usually think of something more dynamic and energetic for this season, but the laid-back vibes of this song is ideal for moments in Summer when you do not want to be moving about as much. The Afrobeats instrumentation felt extremely peaceful and soothing, and the percussion was nicely light but prominent enough to ensure Sticky‘s upbeat motif. I also quite liked the violins present throughout the track as well. The melodies and hooks were well delivered by KISS OF LIFE, and they ring in my head even after the song finishes. And needlessly to say, their vocals were quite good, putting Sticky on par with the rest of their discography. That brief touch of rapping just prior to the final chorus was also well executed and placed in the track. I guess the only weakness in Sticky (and it is negligible given what I had already described about the song), and is the case with other subdued songs, is that all parts of the song really need to be compelling to avoid the song being forgotten. While the choruses does hold Sticky‘s ground, it could be argued that the verses didn’t hit the mark as well as they could have. But I am not as fussed by this and think Sticky managed to push through as a memorable track.

It would have been really cool if this music video was shot in a one-camera shot style. This could have really boosted the music video’s profile and earned a lot of praise from me (and probably a lot of the viewers). What we got was more of a faux version of that one camera shot style. It is not the same, but we got a similar product in the end. I really liked how KISS OF LIFE really pushed the boundaries in the video, making it sexier to what KPOP is used to. I also like how they made sure to portray the lightness of the song through the video as well, which was much appreciated by me. We don’t see anything too harsh in terms of lighting or colours. Everything felt easy on the eyes and looked good. I would like to know what the ending means. It felt like a cliffhanger, perhaps to their next release.

KISS OF LIFE really turns up the heat with the accompanying routine for Sticky. A fair bit of twerking and a lot of sexiness is delivered by the group. I like that they are not afraid and definitely pushes the boundaries in this regard. I did think dancers could have made this performance a bit more dynamic and showed off some additional chemistry that we saw in the music video.

Song – 9/10
Music Video – 8.5/10
Performance – 8/10
Overall Rating – 8.7/10

[Review] Cheeky Icy Thang – STAYC

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After a string of successful title tracks on mini and single albums since their debut in 2020 (such as last year’s Teddy Bear, RUN2U and ASAP), STAYC has returned with their first studio album Metamorphic. Leading the charge on this album is the title track Cheeky Icy Thang.

Cheeky Icy Thang receives mixed feelings from me. I liked some parts of Cheeky Icy Thang, but other parts felt questionable (at best). Let’s start off with the positives of Cheeky Icy Thang. The electronic strutting instrumental had good drive and forward momentum. There was also this attitude to it, which I wished the song explored a bit more. This could have made Cheeky Icy Thang into something else. I also enjoyed the detailing in the background. This added a layer of the playful STAYC colour that we all know and enjoy, and also kept the backing as a compelling listen. Very brief parts of Cheeky Icy Thang, such as the second half of the verses, had this vibrancy from the members’ vocals, which adds more STAYC colour to the song. I am not exactly sure if it fits in, but considering the other weaker points Cheeky Icy Thang which I am about to speak to, I am labelling this vibrancy as a positive. I also find the concept of the some of the delivery to be quite good, such as the autotune that bridges the verses and choruses. Now onto the weaker parts of the song. The lyrics were definitely questionable and felt more like gibberish. “Whisky ring a ring ding dong” just doesn’t do it for me. While I did like some of the vocals and concept of some of the delivery (as mentioned above), the silliness of the lyrics made the delivery and execution awkward. The use of rap-singing felt overused in the song, as well. Lastly, the abrupt ending (and lack of a bridge and final chorus) meant Cheeky Icy Thang didn’t close in a satisfying way. Cheeky Icy Thang has its charms and it could be a matter of further listens to really have the song grab me. But for now, mixed feelings is the best way to describe my thoughts on the song.

While that the above is how I think about the song, the music video fairs a bit better. I liked watching the accompanying video to Cheeky Icy Thang. That strutting vibe that I mentioned above is reflected in the music video, when the members cause chaos behind the scenes at a modelling shoot. I think this is supposed to demonstrate a “cool” side of the group. Elsewhere, the chaos continues on outside on the streets. What I saw reflects the summery season with the bright sunlight, cheerful smiles from the members and a casual vibe. The music video was designed to be light-hearted and fit in with the dynamism of the song, which I personally think worked.

Choreography wise, it looked okay. I am not sure what would be a better way to show Cheeky Icy Thang in some dance moves, but I am not sure what we saw in the routine was that. I did like the part of the routine for the instrumental break, however. The ending pose is growing on me, but looked a little awkward at first.

Song – 7/10
Music Video – 8/10
Performance – 7/10
Overall Rating – 7.3/10

[Review] FOREVER – BABYMONSTER

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Back in May, YG Entertainment announced plans for BABYMONSTER to return later in the year with their first studio album, and that a single would be released in July as a pre-release. Well, it is now July and YG Entertainment confirmed BABYMONSTER release officially dropped on Monday as promised! Hahaha… Remember those days? The pre-release single is titled FOREVER and follows on from the release of STUCK IN THE MIDDLE and SHEESH from earlier on in the year.

I am genuinely surprised with FOREVER, particularly when we hit the choruses. BABYMONSTER’s songs have not really pulled me in thus far, but FOREVER is the first to catch my attention and bring out a positive reaction from me (for the most part). The pop vibes in the chorus are different from what YG usually produces and releases for their artists. For the instrumentation, FOREVER‘s club-like background during chorus hits the mark, for me. The vocal work in the pre-chorus and choruses of FOREVER were nicely executed and further demonstrates that there is promise for the group. Even I received the rapping throughout the track positively. But while I do appreciate all of this, FOREVER does have a few issues that limits the song’s potential collectively. Firstly, I felt FOREVER was disjointed due to the various pauses between different segments of the song. If the song was ‘tighter’ on many fronts, I felt this would have made FOREVER more cohesive as one piece. Secondly, FOREVER suffers due to the presence of the not-so-innovative second verse. It isn’t the rapping that gets me (per my earlier comments), but rather it is the breakdown that has to accompany the second verse rap in every YG song. I don’t see the need to stick to a breakdown every single time. Surely, someone would have realized this by now. I also think this sequence features the same (or extremely similar) synths to what we heard in SHEESH, which confirms to me there is a lack of innovation at the company. Thirdly, not keen on the soft utterances of “Like I’mma live forever” and “Like I’mma like I’mma” in the background of the chorus. They felt needless and don’t add anything to the song. Overall, FOREVER is a refreshing turn for BABYMONSTER (and their company), but there are some issues meddling its overall potential.

With KPOP’s growing presence at the big fashion shows, we see BABYMONSTER get ready for one of them in the music video for FOREVER. And following that, they have fun in each other’s company, what is assume, is following that fashion show. I liked the classy yet modern looks they had on throughout the video, and the sets were pretty cool. However, I do feel like there is a slip in standards. YG Entertainment videos always scream out to me for its high quality, but I don’t feel that here.

FOREVER has one of those routines that looks goods and feels fitting for the song. But it didn’t have anything in it that really stands out.

Song – 8/10
Music Video – 8/10
Performance – 7/10
Overall Rating – 7.8/10

[Special] KPOPREVIEWED’s Personal Favourite Songs from the 1st Half of 2024 & more

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One of the first posts after 30 June each year is my ‘Personal Favourite’ post. Each year, to help round out the first half of the year, I post a list of my personal favourite songs from the 1st half of the year. As we are now in July 2024, it is time to post my personal favourite songs from the 1st half of 2024 (with a few extra tidbits).

For this year’s post, I am following what I did last (and the year before that) year, as I quite liked how that turned out. In addition to the usual list of 10 songs (which are in no particular order and not related to my reviews as songs do grow immensely on me) for the first half of 2023, I will also be posting two songs from the November – December 2022 period I personally liked and 3 non-Korean songs (i.e. English, Japanese etc.) by Korean artists that caught my attention so far this year. So without further delays, here are the list of my personal favourite songs of the year thus far (in no particular order, of course).

From November – December 2023

Personal favourite non-Korean songs of 2024 thus far

Personal favourite KPOP songs of the year so far (January – June 2024)

[Review] Strawberry Rush – CHUU

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Another comeback that occurred this week was CHUU’s solo return with her 2nd mini-album and title track, both of which are titled Strawberry Rush. I thought I prioritise this comeback for two reasons. The first is because I missed out on reviewing her solo debut back in October last year (with her 1st mini-album and title track Howl). Given all that she (and the rest of LOONA) have gone through over the last few years, I think CHUU (and the rest of the other post-LOONA acts) deserve some attention. As such, I will be looking for opportunities to review other post-LOONA acts that have made comebacks and debuts this year. I will point out the second reason later on in the music video.

Strawberry Rush feels very CHUU-coded. It is fun, cutesy, bubbly and energetic – all words I would use to describe CHUU. If the intent of the song was to bring a smile to our faces, then Strawberry Rush is a success for me, at least! Though I am sure there are others that felt the same need to smile listening to Strawberry Rush. The synthwave instrumentation was light and breezy, which feels fitting for the summery season the audience in Korea is currently experiencing, as well as current trends. CHUU’s vocals fit into light and breezy motif effortlessly and held its ground throughout Strawberry Rush. However, I would have liked to hear something a little more interesting from her in the song. The melodies, and as a result her delivery, felt very linear and safe for most of the track. It is as if she is being held back. The energy Strawberry Rush exudes does mask this a lot. But really focusing in on the song for this review has made me realized that not everything in Strawberry Rush is as sweet as it is seems. Her high note is a good example of this ‘more interesting’ element, but that was quite later on in the song. It could be argued that her rapping in the second verse was ‘interesting’. But I felt it to be a little too awkward, even though I am going to admit that it is growing on me ever so slowly. The more I listen to Strawberry Rush, I can’t imagine the song without the rapping. But despite my desire to hear more from CHUU in Strawberry Rush, I am quite on board with the song as it is already.

I only got around to watching the music video today. And as I watched it, I recognized that the real-life background were quite familiar – it was shot in Melbourne, Australia! And that is the second reason why I wanted to review Strawberry Rush. I am always willing to give a shout out to Melbourne, which is where I grew up. I really like how the video really made the colours of Melbourne pop and showed off its casual side. Aside having a moment about where the music video was shot, I also appreciated the CGI monsters, the post-production and CHUU’s overall cuteness. If the song didn’t make you crack a smile, then this music video will.

As for the performance, it was just as cute and fun as you expect! I really liked the simplicity of the post-chorus sequence, with the wide spread arms and bouncing move. To me, that summed up the entire comeback extremely well.

Song – 8/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 8.5/10

[Review] Cosmic – Red Velvet

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I know I haven’t posted over the last few days (work depleted all of my energy) but now we find ourselves at the end of the week. But I don’t think I can ‘end the week’ perse without reviewing Red Velvet’s latest comeback, Cosmic, which is both the title track and title of their 7th mini-album. Obviously, this review is just for the song, and I will definitely be returning to review the album some time in the future. Cosmic is the group first release since last year’s Chill Kill studio album and lead single comeback.

Elegant and soothing is what came to my mind when I first heard Cosmic on Monday. I wasn’t completely sold on it, at first, and I will speak to that in a moment. But repeat listens to Cosmic since its release has helped me realized that the track is indeed wonderful. Cosmic has this really enjoyable smooth flow to it, thanks to the members’ vocals and the song’s melodies. I honestly would not expected this from Cosmic‘s instrumental, which takes on a slightly more groovier texture and disco profile. But then again, Red Velvet have previously spun a unexpecting sound profile into something aesthetic (like Chill Kill and Psycho), and in the case of Cosmic, tranquil. The melodies themselves have a nice ring to them, and that gets the song in my mind even after it has ended. What I also liked about Cosmic is the spark of brightness the members bring to the song, whilst singing about a short-lived love-at-first-sight interaction. This brightness and the earlier mentioned flow propels the song forward for me, making it feel like it went somewhere. I also really enjoyed the harmonies and ad-libs that Cosmic had. A great song, overall.

But earlier I mentioned that I wasn’t completely sold on Cosmic in the first listen and part of me still feels that way. It stems from an inherent problem with ‘smooth songs’. Too smooth can make a song easily be passed over. Because I know what music Red Velvet puts out, I will always check them out (no matter the level of smoothness). I just not sure how this would go with the broader audience who don’t tune into Red Velvet as often, or know about Red Velvet whatsoever. As such, I feel like Cosmic needed a striking element. I am not sure what that would be, but it needs something aesthetic enough to fit in with the rest of itself and also really grip the audience at the same time.

As confirmed at the end of the video, the music video for Cosmic is inspired with Midsommar, a film about an American couple in a deteriorating relationship who are drawn into a violent cult in rural Sweden. Obviously, Red Velvet’s visual material doesn’t focus on the first part or the violence that featured in that movie. But the video does feature a similar cult from the movie. Flowers and the maypole are elements also taken from the movie. Additionally, we see a person fall from the sky and the cult members (including Red Velvet) pick them up and carry them to their base to be sacrificed (I think this is the case based on the placement of flowers on the eyes towards the end). Both the person who fell from the sky and Red Velvet seem interested in one another throughout the video. But as the song lyrics suggests, this is rather short-lived, given my theory that a sacrifice had to happen. Interesting video overall, as well as an interesting choice for a KPOP music video inspiration.

The choreography for this comeback is very pretty. The pace and moves all match the smooth drive that the song has, and focuses on an output of elegance. I also like how the performance was also very smiley, which shows off a great side of Red Velvet.

Song – 9/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 9/10

[Review] If I’m S, Can You Be My N? – TWS:

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As mentioned two days ago, TWS:’ comeback was just around a corner. Titled If I’m S, Can You Be My N?, the new single dropped yesterday and formed part of TWS:’ highly anticipated first comeback with their second mini-album Summer Beat!. A pre-release single, Hey! Hey!, was released a couple of weeks back. I will return at a later date to review that track. For now, here are my thoughts on the title track.

If KPOP has taught me anything about Summer over the years, Summer songs usually stand out if they tick the following – the song is upbeat; full of energy; bright; and fun. If I’m S, Can You Be My N? definitely ticks 4 out of 4 criteria. This in itself already makes If I’m S, Can You Be My N? hold a lot of promise. But there is also a lot more to If I’m S, Can You Be My N?, such as its ear-catching hooks and its dynamic instrumentation that has a lot of musical details that increases its fun energy and brightness. The guitar and keyboard at the start and end of the song are examples of these details that bookmark either ends of the song in a very pop and colourful manner. The groovy backing elsewhere in the song also had this forward driving motion that pushed the song and made it go places. But that isn’t all that stands out in If I’m S, Can You Be My N?. TWS:’ youthful vocals are on full display throughout the track, which just suits the summery season so well. SHINYU’s rapping was also quite exceptional, fast becoming my favourite moments in the song. Overall, TWS: definitely delivered on expectations that was set via their debut mini-album and title track. I don’t think they have exceeded those expectations with If I’m S, Can You Be My N? (as such, I have gave the same song rating as I did with plot twist). But you can tell they put in a lot of effort for a successful comeback.

TWS: continues their schoolboy concept in the music video for If I’m S, Can You Be My N?. The video shows the members at (what looks like to be) hagwons – like an after school tutoring centre that South Korean students attend. We see the members also skip hagwons to hang out with one another, and also do other extra curricular activities like athletics (more specifically, high jump). This brings together two students who are opposite to one another – the studious and the sports player – with the members expressing their “heart-fluttering excitement about getting to know the numerous reasons why opposites attract” (taken from SOOMPI) in the lyrics. It was a vibrant and very colourful video, without a doubt intended to be suitable for the summery season.

The performance for this comeback is very dynamic and this made it very exciting to watch. Again, I applaud the fact they brought some youthfulness (and as an extension of that, some cuteness) to the routine. Their chemistry and the fact they are constantly moving definitely made it another strong routine that I am sure TWS: will continue to stand out with.

Song – 9/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 8.7/10

[Album Review] Sparkling Blue (1st Mini Album) – TWS:

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With TWS: making their comeback tomorrow (!), I thought I wrap things up related to TWS: debut back in January this year. And with their debut single plot twist and follow up single BFF reviewed, that leaves the album review. Now, I know I made promises to review the pre-release Oh MyMy:7s in the usual song review format. But after considering whether to write the album review or that review (and with their second mini-album in mind), I chose the former to keep things moving along. All three songs are featured on the mini-album Sparkling Blue, which also features 2 additional side tracks (taking the total number of songs to 5).

As a debut mini-album, Sparkling Blue is probably one of the strongest first steps I have ever seen. You have a super trendy title track that has attracted a lot of attention and resulted in a lot of fans. The side tracks on the album introduces us further to TWS: via a consistent wholesome and youthful manner. As such, Sparkling Blue has also become one of the strongest album releases of the year, thus far, in my books. The best bit of the mini-album is that it gets me excited for what is to come for the group. And excitedly, we won’t need to wait for long to find out.

Sparkling Blue Album Cover

1. plot twist (만남은 계획대로 되지 않아) (Title Track) – Click here for the full review for plot twist. (9/10)

2. unplugged boy – Usually, an all-English song becomes part of a KPOP group’s repertoire later in their career. But TWS:’ all-English unplugged boy pushes this boundary by being present on this debut mini-album. unplugged boy is a really pleasant vocal track from the group. The instrumentation goes down an alternative pop route, with hints of playful and youthful vibe throughout the track. I really like the smoothness that the members and melodies work together to bring out in this song. Things just glide along in unplugged boy and I liked that effortless listening experience that the song brings about. (10/10)

3. first hooky – first hooky turns up the upbeat dial a few notches. It is another pleasant side track from TWS:, but the track takes us down a groovy and retro-like motif with its synth work. Further to that, I really enjoyed the fact the members sang so fondly of playing hooky (skipping school) for the first time, that the rapping really captured the groovy vibes well and the “Maybe, I really wanna kick it with ya” is quite a catchy hook. But the best part of first hooky has to be its bridge. I always find Kyungmin and Youngjae’s vocals in this part to be so decadent. I just find the melodies in first hooky to be slightly weaker. But that is a minor drawback in what is another amazing side track. (9/10)   

4. BFF – Click here for the full review for BFF. (8/10)

5. Oh Mymy: 7s (Pre-Release Song) – Oh Mymy: 7s is actually the one song on the mini-album that feels like it channels modern and contemporary trends, resulting in a track that is more focused on its accompanying performance. Bouncy bass with percussive synth work was the dominant and most prevalent sound in Oh Mymy: 7s, but we also got some atmospheric backing for the pre-choruses, and fulfilling and brighter synth work following the choruses. The good thing is that they all meld together to create a cohesive track. The vocal work and rapping were good, but more riveting material have emerged since this pre-release track. The chorus probably is the most lackluster part of Oh Mymy: 7s. It sounded good the first time around and ended up catchy for a while. But on this occasion, repeat listens since January (on this occasion) have made it unexciting and bland. (8/10)

Overall Album Rating – 8.8/10

Sparkling Blue Teaser Image

[Review] SABOTAGE – KWON EUNBI

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Next up on the blog (and finally moving away from Monday releases) is KWON EUNBI’s SABOTAGE. This new single is featured on her second single album of the same name, and follows on from her 2023 single The Flash.

SABOTAGE continues KWON EUNBI’s venture into club music. I liked the set up behind SABOTAGE and the groovy disco elements in the instrumental that gives SABOTAGE a very bright and poppy feel, ideal of the summer season. KWON EUNBI delivers the song to the best of her abilities – that must be acknowledged. All in all, I think SABOTAGE is an alright song. But there are a few aspects upon reflection that makes SABOTAGE feel awkward for me. The first has to be KWON EUNBI’s vocals. I don’t think she is at fault, however. For some reason, the producers pushed her vocals to be higher than what it needs to be. As such, KWON EUNBI sounded scratchier than usual. Not exactly sure what the intent is by doing this, as it doesn’t necessarily put her in a good light as a singer. As mentioned before, she does well enough but I can tell that she is pushed beyond her limits. The second aspect that makes the song awkward was the second verse. The energy in SABOTAGE was good before and after the second verse. But I am not entirely sure why it needed to lull via another one of those typical trap-based sequence. Sure, it gives SABOTAGE some variety, but it felt counter intuitive at the same time. Thirdly, I am not fond of the song’s shouty lines in the background of the chorus, the “Stop, wait, let’s go” in the first verse and the “This is sabotage” as the bridge between the first chorus and second verse. I personally feel they are out of place and have no clue what value of these lines are to SABOTAGE.

As with all KWON EUNBI’s music videos, her visuals stands out. If there is anything to take away from this video, it is just that KWON EUNBI is stunningly beautiful. Alongside all the visuals and choreography shots, this particular music video features a story. KWON EUNBI plays a character that is part of a group of friends who have a romantic interest with one another. But it gets real messy when KWON EUNBI catches two of her friends kissing, leading her to (possibly) end her friendship with them. The fourth friend also has romantic feelings for her, but she quickly shuts it down following what happened with the other two. That is what I got out of the music video. And if my interpretation is right, then KWON EUNBI’s character’s reaction is confusing (as she also had romantic interests in both of her friends).

As for the performance, this one was very good. I really liked how chair was incorporated into the first portion of the routine. I won’t spoil it for you, but she doesn’t exactly use the chair for its intended purpose. Lifting KWON EUNBI up at the end and having the chair continue to spin even after she finishes was an interesting way to end the routine. The rest of the choreography was well presented and showed off her skills as a dancer, as well. The dancers also looked good and performed well with KWON EUNBI.

Song – 7/10
Music Video – 8.5/10
Performance – 9/10
Overall Rating – 7.9/10

[Review] Badder Love – EVNNE

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In true KPOPREVIEWED spirit, it is the end of the week and I am still reviewing the releases from Monday. The song in question up for review in this post is EVNNE’s Badder Love, the title track off the group’s newly released 3rd mini-album RIDE or DIE. This comeback follows the group’s January 2024 comeback with Un: SEEN and UGLY.

While their previous tracks (TROUBLE and UGLY) have been of a bold and bombastic motif, Badder Love sees EVNNE answer to the summer period that South Korea and other people in the Northern Hemisphere are experiencing. As for someone who likes the summer time more and is currently living in a part of Australia where it has been freezing lately, songs like Badder Love can be very appealing to me right now. For the most part, it does. Badder Love‘s instrumental is more of the pop variety, with nice pronounced guitar work right in the back and a refreshing set of synths. I like the more casual and carefree rush of energy that comes from Badder Love, which aids in making it a refreshing listen. As for the members, Badder Love gives the group an opportunity to show off a more melodic side, which is a fresh turn in their promotional material. I like the lightness that the members execute the song’s melodies with. Even the rappers of EVNNE join in with vocal parts, which was interesting. But despite listening to the song multiple times since it dropping on Monday, my initial thoughts on the song still stand – I wished there was more to Badder Love. More personality and individuality in some form could have made Badder Love even more compelling to listen to. EVNNE’s execution and delivery of Badder Love is fair, but also typical. It lacks that EVNNE factor and punch that I personally felt EVNNE had found in their earlier releases.

The music video description explains what the intent of the video is, leaving no room for misinterpretation. This whole mini-album supposedly “portray EVNNE’s reckless stance on love by using a phrase [RIDE or DIE], emphasizing the trust and loyalty of ‘together until the end’“. In the music video, we see the members as a group of friends who have taken up boxing together. They struggle with it in different ways, but are determined to reach their goals with one another. As such, we see the members consistently hanging out with one another despite of any regrets they may have about this journey. I liked the summery vibes that the video contains and that montage of the choreography shots at the 2:43 minute mark of the video looked very cool.

I liked how more fluid the performance felt, which gave off a more refreshing vibe to the choreography and complemented the song well in same regard. Their past performances have been more sharp and restricted because of the nature of the respective song. The inclusion of the love hearts was a cute element that works with the messaging of Badder Love, and I quite like the look of the stage as a whole when the members pull off their controlled wide arm movements in the chorus.

Song – 7/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 7.5/10

[Review] Last Night – JEONGHAN X WONWOO (SEVENTEEN)

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SEVENTEEN only just returned with their compilation album 17 IS RIGHT HERE (headlined by their latest new single MAESTRO). The album also consist of unit tracks (split by their usual Hip-Hop, Performance and Vocal teams), which I am looking to review at a later stage. They have also been fairly busy holding concerts this year and been on tour throughout Asia. But the 13-member group continues to be active through a new unit JEONGHAN x WONWOO. This duo unit brings us the new single Last Night (which features guitarist Park Joo Won), which is featured on the single album This Man.

It has been a couple of days since the release of Last Night and that naturally gives me an opprtunity to take a few listens to the song. Through these multiple listens, I can confidently say I like Last Night. The song didn’t strike me the first time I listen to it, but subsequent listens have made realize how good the song actually is. The aspect I always notice first when I have replay the song is its instrumentation. The Latin influence of the guitar, the guitar work (in general courtesy of Park Joo Won), the contemporary synths and pounding bass (which becomes more prevalent in the chorus) just makes this track ooze so much charisma, sexiness and alluring energy. I also like how these instrumentals meld together so well in Last Night. They all had great chemistry with one another, and this sets up Last Night to be a good track. The combination of JEONGHAN and WONWOO backs all of that up. I wasn’t particularly sure what style of music the pair would be delivering, but I am happy this is what they arrived at. The whispery nature of their delivery throughout Last Night reiterates that alluring nature I already mentioned. On the flip side, the contrast between their vocals (JEONGHAN being a little more high pitched, and WONWOO singing/rapping in a lower tone) makes Last Night feel textured and gives off a natural perception of depth. WONWOO’s rapping in the second verse, in particular, always seems to hit the right spot each time when it comes on. The melody of Last Night is quite catchy, though I do think the instrumental does mask its fluidity. But that is only a minor detail, and it doesn’t really change the fact I am liking Last Night overall.

The music video was a bit confusing to me. But in the lead up to the release of the music video, JEONGHAN x WONWOO released an audiobook teaser, which gives you context about urban legend of This Man, as they call it. It is also a recount of what is happening in the music video. I recommend you check out this audiobook teaser and then the music video, as this package will help you understand the story JEONGHAN x WONWOO are portraying in the music video and saves me off writing a not-even-accurate interpretation of the music video (which I have done previously!). I honestly find the concept of an ‘audiobook’ teaser to be so cool, and wish KPOP music videos does this more. As for the actual music video itself, I really like the mysterious and intriguing vibes that come from the video. And once the story clicks, it is definitely a worthwhile watch.

Choreography-wise, it looked good. It felt artistic and brought out great chemistry between the pair. You could feel the subtle tension between the pair throughout the routine, which made the stage feel more compelling to watch. I also like how the routine builds in dynamic flair as it progresses, peaking at the end for the final chorus as a final rush to the end of the performance.

Song – 9/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 8.8/10

[Album Review] 2 (2nd Studio Album) – (G)I-DLE

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As flagged last week, I have been gearing up to review (G)I-DLE’s second studio-length album, 2. A classic sign of that is when I review side tracks that got the music video treatment in close proximity to one another. In the case of 2, the two sides tracks that I reviewed in close proximity was the pre-single Wife and Revenge (a side track that (G)I-DLE released a music video post-release of the album). Sitting in between the two releases (in terms of chronology) is the title track Super Lady. The album also features another 5 songs (making it 8 songs in length), including the hit single Fate (which the group ended up promoting after it got popular in March – two months after the release of 2).

As you can see, this album is full of bold tracks from (G)I-DLE, which shows off their artistry and continues to show their ability to take on multiple music styles. I do also like how they continue their confident and powerful messaging in this album. This theme that is very consistent across their recent releases, such as in their previous Korean album release was last year’s I FEEL (which features the single Queencard).

2 Album Cover

1. Super Lady (Title Track) – Click here for the full review for Super Lady. (8.5/10)

2. Revenge – Click here for the full review for Revenge. (8/10)

3. Doll – Doll continues the darker vibes that we heard in Revenge. While it is a good song with a further touch of grunginess in the chorus and a classic creepy feel to the verses, I am not exactly thrilled by it. The vocals were more typical. They did have a powerful aura to them. But I wished there are more melodies in Doll song, rather than the spoken motif that was consistently present throughout the track. The song also ends with the typical “La La La”, which was also how Revenge (i.e., previous song) ended. (7/10)

4. Vision – The consistent beat to Vision makes this song very addictive and cool. I liked how the elements of the song are backed up and how it gave Vision a lot of definition. The beats are backed up with some strong bass, while the vocals (during the choruses) are backed up with this low and subtle spoken utterance of the lyrics. The more upfront vocal work was very fluid, while the rapping is one of the best examples on the album. Altogether, a very alluring track that really stuck out at me when the album was first released and remained as one of my favourites ever since. (10/10)

5. 7Days – 7Days is a soft drum and bass track, which I found to be quite soothing and calming to listen to. Compared to the bolder sounds on the album, 7Days is easily forgotten. But when you return to listen to the album in full, its lighter presence does provide relief from everything else on 2. The softer instrumentation helps makes the song soothing and calming, but the members’ softer vocals also play a big part in this. They sound so light and delicate throughout the track, while the melodies sound very comforting and wispy. (8/10)

6. Fate (나는 아픈 건 딱 질색이니까) – Interestingly, Fate ends up being one of the bigger songs on the album alongside the title track, rising to prominence after a performance on Lee Hyori’s Red Carpet and through its It’s Live YouTube video. Fate itself ended up winning a triple crown on the weekly Korean music show Inkigayo and rose to the top of the Circle Charts in Korea (something the title track didn’t achieve). Fate is a funky pop-punk track that had reminded people (including myself) of the 00s era of JPOP. I quite liked the vocals in this track, which came off as very refreshing and vibrant to listen to. Vibrant is also how I would describe the instrumentation in Fate. We also get some interesting vocal colours from the members throughout the track, with a cutesy flair coming to my mind from all members. Some members, like SOYEON, gave Fate an interesting zing with their vocals. Overall (and just like everyone else), I was definitely captivated by the unsuspecting Fate. (10/10)

7. Rollie – Leading us towards the end of the album is Rollie. There is a fair bit to like in Rollie, such as the flow of the song to the trap beats to the husky vocals to the simple hooks that are quite addictive. I would have liked the producing team (which includes YUQI) to turn the dial up a notch to bring up the heat and make the song feel wow. Rollie just feels a little simple in its current form. I think the song demands a bolder feel, particularly for its self-confidence message, and the mature tone that comes off Rollie. It is still a great song as it is. (8/10)

8. Wife (Pre-release Track) – Click here for the full review for Wife. (7/10)

Overall Album Rating – 8.3/10

2 Teaser Image